Beginnings of the curation process.

Something I need to get going on asap is the curation of what is going to be in my exhibition. I think it will a process in progress for quite a while, but gotta start somewhere. I'll be collecting loads of images to sift through that relate to each other out of a common visual perception concept/theory/phenomena/etc. Basically this will progress eventually to things that will be in the same section together within my proposed exhibition.

This first batch will probably give you a migraine if you look at them too long.

Visual perception relevancy: illusory motion
Art movement: Kinetic and Op-Art

I find it fascinating that some of these were made by "op-artists", while others were made by "vision scientists."
(click images to enlarge)

MacKay Rays
Donald M. MacKay (vision scientist)

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The Christmas Lights illusion
Gianni A. Sarcone (op-artist)

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Bridget Riley (op-artist)
(she gets her own post in a bit)

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Nick Wade (vision scientist)

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The Ouchi Illusion
Hajime Ouchi (op-artist)

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The Ouchi Illusion (variation of previous)
Akiyoshi Kitaoka (vision scientist)

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Hatpin Urchin
Akiyoshi Kitaoka (vision scientist)

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The Rotating-Tilted-Lines Illusion
Simone Gori, Kai Hamburger (vision scientists)

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The Rotating-Tilted-Lines Illusion (variation of previous)
Isia Leviant (op-artist)

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The Enigma Illusion
Isia Leviant (op-artist)

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That's it for the moment, more Bridget Riley and Akiyoshi Kitaoka pieces to come.

]link to some brief info about most of the above pieces.
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presentation 1/29/09

These slides are from my brief thesis proposal presentation for my first thesis class this week.

(I tried to keep them as straight forward as possible because I believe slides are supposed to ENHANCE the presentation, not, BE the presentation.)








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I have an improved/clarified/simplified idea of exactly what my thesis project will consist of.

To put it short and sweet...
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I am going to be designing an exhibition about neuroesthetics and visual perception.

The vehicle for communication will be exhibition design, and the content of that exhibition will consist of selected research about neuroesthetics and visual perception. Specifically, it will give an overview of the fields, their recent developments, as well as hopefully express the relevance of these fields to art and design and how having an understanding of visual perception and neuresthetics will lead to creating more effective visual communication.

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A problem I have been having is that my research for content and research for design has been blurry. The closest example I can think of is if you were making a book about typography. The emphasis of that project could be on the typographical layout of the content, or on creating the verbal content for the book. So, I had important realization, that at the very core of my project, the most important part needs to be the design (mainly exhibition and information). As much as I love researching the content for it, I am not a neurology or psychology major, this is not a neurology or psychology thesis, it is a communication design thesis. My main goal needs to be creating the most effective visual design to communicate the content. Because the content of my exhibition is so intriguing to me, I might choose to pursue that field of interest further, but for now, it needs to be all about the design.

Also, as a result of this realization, the content of this blog needs to expand, to not only research about neuroesthetics/perception/etc. It also needs to contain is visual research and inspiration in the areas of exhibition, information, environmental, and interactive design, etc.

I guess that about sums it all up.
More research to come, inspiration, semir zeki lecture notes, exhibition visits, etc etc etc!

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Thesis ideas...

Thesis Idea #1.

Create a series of information design pieces or a book detailing the relations between past and current research in the field of visual perception and art, and how that research can be applied towards creating more effective graphic design. Areas of interest to include may consist of improving composition, visual organization, color theory, typographic readability, etc. Also include research into visual information processing with an emphasis on how a better understanding of it may improve areas such as information design, wayfinding, and environmental graphics. In addition to using purely psychological theories to support these suggestions, include clinical trial results, and neurological findings, all presented visually as well as verbally. Also introduce ideas of complexity, entropy, and physics of information and how they may be applied in creating the most effective balance of aesthetics and communication in graphic design of any form.

Primary concentration will be on applying many of Rudolf Arnheim’s theories of art and visual perception to graphic design instead of the areas he primarily concentrated on: fine art, sculpture, and film. Then, expanding on his theories by incorporating research from other prominent experts in the fields of psychology, physics, neurology, neuroesthetics, design, and art theory. To fill in gaps where clinical evidence of different concepts actually benefiting design is scarce, independent visual experiments may be set up to test the accuracy of the different proposals presented.

While verbal explanations of most of the information presented will be necessary to fully provide the preferred depth of information, the primary mode of communicating these concepts will be visual. Most past and current information regarding visual perception is consistently presented verbally, and as a result alienates itself from the very phenomena being discussed. I aim to integrate the use of visuals with verbal explanations in a much more cohesive manner that has been directly informed by the very information it is presenting.

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Thesis Idea #2.

Exhibition design on the topic of visual perception and art. This hypothetical exhibit would be designed for display at either a science, natural history, or modern art museum. The purpose of the exhibit would be to educate people of the general public, as well as individuals with a deeper interest into the links between psychology and the arts. Information will concentrate mainly on theories explored by the top three most influential experts in the field: Rudolf Arnheim, V.S. Ramachandran, and Semir Zeki. Their approaches and contributions have had profound effects on the field of art and visual perception, and the understanding of the fundamental ways in which we perceive the world around us. Contents within the exhibition may include historical timelines, interactive elements, master artworks, other physical specimens, etc. Topics in consideration to be covered include the following (areas overlap and not in specific order):

    1. visual perception & cognition
    2. information processing
    3. visual thinking
    4. creativity and cognitive processing
    5. altered or enhanced visual perception
    6. creative personality
    7. the creative impulse
    8. entropy and physics of information
    9. order and disorder, complexity
    10. art history and visual organization
    11. organizational theory and composition
    12. aesthetic perception and philosophy
    13. neuroesthetics
    14. other misc.

Visitors of the exhibition should leave with an enlightened view of the way they and others perceive the world visually, and how that influences visual communication through art from both the side of the creator and observer.

I will write all of the contents of the exhibit, as well as design information, environmental, and exhibition graphics to enhance the experience and absorption of the material presented. The layout of the exhibit as well as the physical and interactive elements of it will be created in the form of a small-scale model, and necessary parts may be presented and built to scale.
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